Drama Tuesday - Stirring the embers

Part One

TEACHING DRAMA

Why teach theatre? How can we afford not to teach theatre? Dramatic arts are among the most effective tools we have to teach our children to live, love and behave like decent human beings .. . We have an incredible opportunity to un-teach the numbing and de-humanizing lessons of popular culture.

(D. Berkson, fall 2001, Teaching Theatre, vol. 13, number 1)

Do I need to say more? These few words could be my plea in favour of teaching art, any art, in schools, community centres, refuges, mental institutions, nursing homes, jails, etc. Art has no borders, no age or social status. Art learning-teaching is multidimensional: physical, sensorial, social, cognitive, moral, emotional, creative and aesthetic. Some forms are more individual-focused than others; visual art can be a more solitary practice than theatre (in general). Bμt all, at some point in time, deal with an audience. Therefore, art touches people at two levels: 'making art' and 'sharing art'. Again, I am digressing from drama to art in general; it always will be, because art is a way of life. It is a 'discipline', more than a subject. Once it is inscribed in the cells of your body, your being and your expression are artistic. Naturally, you might have a gift or a talent in one particular area; but it is the way you look at the world and deal with it that is different: humane, respectful and visionary.

First question: why teach drama? In my eyes, dramatic art is the closest to daily life. At first sight, it is an art form that does not require too many skills (at least, it appears like this). A musician, or a dancer, needs a regular and long training; actors always seem more 'dilettante'. It is a medium close to our mundane reality; it uses 'natural' body moves and gestures, words, emotions and situations, one performs every day or nearly. It does not frighten people, as dance could. As drama uses spoken words, people find in their memories and life an endless source of inspiration, which they can communicate easily. Once the first step towards theatre is made, it does not take long to realise that there is more to it than merely copying reality. Taught at its best, participants understand that through the magnifier of theatre, they create a 'new' reality, powerful, magic and empowering. Some incredulous pessimists would argue the ethics and the worth of theatre; but no one can deny the healing aspect of theatre, since the beginnings of time. In fact, it was the very function of theatre, because it is the expression of the deepest aspirations of humankind. And even in the most tortured or dark plays, somewhere it addresses the sublime side of humanity. It is a reverse illustration of the paradox: '1he brighter the light, the darker the shadow''.

Therefore, in the light of all what was said before, teaching drama is taking people on a journey of discovery about themselves and about others; or rather, revealing the others dwelling in oneself. It is accessing a world of meanings, symbols and beauty. Beyond the context (the content of the play), teaching drama is exposing the students to new situations, new lives. It is opening the doors of a deeper and more meaningful reality. Teaching drama is constructing and deconstructing many different worlds, to educate, heal and empower its participants, actors and spectators. Theatre is a powerful medium, which brings change in oneself and a community, by widening one's worldviews. It is a social and political tool. Teaching drama can be a revolutionary act. One day, I scribbled on a piece of paper, a quote read somewhere: The Art of a period is the revolution of the collective soul of its time; when in fact, it should have read: The Art of a period is the revelation of the collective soul of its time. Certainly, the last quote makes more sense; but I did like the first one! For all these reasons, I agree with David Berkson, we cannot afford not to teach ,theatre.

Second question: what kind of teacher do I want to be? Out of my heart, my answer is: inspirational. You need to take students, participants and audiences, willingly, on a journey, the best drive is admiration. We all have our 'star', our role model, for some it is Gandhi, for some it is Adolf Hitler. The choice relies on life experiences, meeting with charismatic people and 'what is inscribed on your slate' at birth. The journey of life is about ·'change'; hopefully towards 'light' and not 'darkness'. It is the role of the artist and the teacher to inspire and educate. Both come from a different angle, essentially, the artist delivers art, and the teacher delivers education. It sounds obvious, but sometimes you wonder if art teachers realise there are two words in their title: 'art' and 'teacher'. More than once, in my life, I left a class or a workshop, crying for Art. An 'inspirational' art teacher is one who practices and reflects about art; and is really good at it. Easy to write, it takes a lifetime to realise it. In that sense, teachers are forever learners.

My next point is trust. As a teacher, you need to create a space where the students feel comfortable to explore and express any subjects and situations. I find that the strategy of teacher-in-role is a good one, as you are not putting yourself as an outsider, watching; but sharing the experience with the students. You have to engage and take risk, like them. Sometimes ago, Jenny de Reuck gave her students an article: Drama in Education and TIE: a comparison, written by Gavin Bolton. He mentioned that at a workshop lead by a theatre company, about a sensitive subject (AIDS), the students asked the drama teachers to leave. I can understand fully the position of the students: but, on the other hand, it was a bit sad that they felt limited in the presence of the drama teacher.

Finally, I should like to be a creative teacher, one who shares experiences and takes risks with the students; and with whom it is fun to work. Also, I would provide many opportunities for the students to perform in front of an audience, or share with others, Besides the normal avenues of school's production, there are so many ways to interact with audience: festivals, specific events, national days, etc.

'Education is about power'. Coscientization: awareness and commitment which gives people grounds for ACTION. (Paulo Freire)